Rendering of Scene Data in Digital Cinema Workflows

Metadata

Publisher: SMPTE — White Plains, NY, USA
Doc Type: Journal Article
Content Type: Original Research
Abbreviated Title: SMPTE Mot. Imag. J
Volume: 118, No. 3, pp. 32–36
Abstract: Several years ago, the Academy of Motion Picture Arts and Sciences formed a committee to study the use of a scene-referred image format for image encoding. The goal was to offer an alternative to the widely used printing density encoding usually stored in the DPX file format. There were many factors motivating people to examine a scene-referred encoding, including making compositing real images with computer graphics easier to accomplish, fulfilling a desire for increased dynamic range to facilitate higher quality manipulation of images in post-production, and adopting an encoding that is better suited for material originated on digital cameras. Since the inception of this committee, Kodak has been an active supporter of the authors' participation, allowing significant contributions to the underlying design considerations for workflows using scene encoding. One of the central elements of the Academy's workflow is the concept of a “reference rendering” transform that takes scene image data and prepares it for the anticipated digital cinema viewing environment. The concept of a reference rendering is controversial because the final “look” of most movie and television productions is often considered to be central to the creative aspect of each production. But it will be shown that defining a reference rendering transform can offer several advantages to creating a scene-referred image encoding. This paper discusses the basic premise behind a “reference rendering transform” and explores some of the technical considerations involved in designing such a transform.
Publication Date: 2009-04-01
DOI: 10.5594/J14957
ISSN: Print: 1545-0279 | Electronic: 2160-2492
Link: https://doi.org/10.5594/J14957
Author(s): Gabriel FieldingSenior Research scientist with Eastman Kodak in Rochester.
bio
Gabriel Fielding is a senior research scientist with Eastman Kodak in Rochester. NY, where he writes algorithms for image sequence enhancement. He is the author of numerous articles on computer vision and image analysis and holds several patents based on his work. He is actively involved in the Image Interchange Format Committee at the Academy of Motion Picture Arts and Sciences. That committee is dedicated to designing a color-managed workflow that will allow images from scanned film, digital cameras, and computer graphics sources to be seamlessly exchanged. Fielding received a Ph.D. from Drexel University in Philadelphia, for research on robust algorithms for stereo-motion fusion. His current research interests include parallel and distributed algorithms for high-speed image and signal processing, artificial intelligence, and stereoscopic image capture and analysis.
Thomas O. MaierResearch fellow in the Entertainment Imaging Business Unit of Eastman Kodak Co.
bio
Tom Maier is a research fellow in the Entertainment Imaging Business Unit of Eastman Kodak Co. He earned a B.S. degree in chemical engineering from Massachusetts Institute of Technology (MIT) and a Ph.D. degree in chemistry from the University of Illinois. During his 36-year career at Kodak, Maier has written computer programs to model film and digital imaging systems, has developed methods to characterize and optimize the color quality of these imaging systems, and has run psychometric experiments to confirm the image quality of his computer optimizations. He previously served on a number of the CIE committees related to color and now serves on several SMPTE DC28 standards committees for digital projection systems. Maier contributed to the standards dealing with color in the digital cinema system and was the editor of the recently issued Engineering Guideline, SMPTE 432–1–2007, “Digital Source Processing—Color Processing for D-Cinema.” Maier was honored with the SMPTE Journal award in 2004 and a Journal Certificate in 2007. He is a member of SMPTE.
Copyright: © 2009 Society of Motion Picture and Television Engineers, Inc.

Bibliographic Reference(s)

1. Reinhard E. Ward G. Pattanaik S. Debevec P. , High Dynamic Range Imaging , Morgan Kauffman Publishers : San Francisco, CA , 2006 . EXTERNAL
2. AMPAS ACES Color Encoding, Draft Specification, 2008 . EXTERNAL
3. SMPTE RP 431–1— 2006 , “D-Cinema Quality—Screen Luminance Level, Chromaticity and Uniformity,” www.smpte.org . EXTERNAL
4. SMPTE RP 431–2— 2007 , “D-Cinema Quality—Reference Projector and Environment,” www.smpte.org . EXTERNAL
5. Giorgianni Ed , Color Management for Digital Cinema: A Proposed Architecture and Methodology for Creating, Encoding, Storing and Displaying Color Images in Digital Cinema Systems , AMPAS , Dec. 2005 . EXTERNAL

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Gabriel Fielding and Thomas O. Maier; Rendering of Scene Data in Digital Cinema Workflows, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 3, April 2009); SMPTE, 2009. Available at https://doi.org/10.5594/J14957

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Gabriel Fielding and Thomas O. Maier; Rendering of Scene Data in Digital Cinema Workflows, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 3, April 2009); SMPTE, 2009. Available at https://doi.org/10.5594/J14957

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<span class="citation">Gabriel Fielding and Thomas O. Maier; <cite>Rendering of Scene Data in Digital Cinema Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 3, April 2009); SMPTE, 2009. Available at <a href="https://doi.org/10.5594/J14957" target="_blank" rel="noopener">https://doi.org/10.5594/J14957</a></span>

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Gabriel Fielding and Thomas O. Maier; Rendering of Scene Data in Digital Cinema Workflows, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 3, April 2009); SMPTE, 2009
doi: 10.5594/J14957
url: https://doi.org/10.5594/J14957

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Gabriel Fielding and Thomas O. Maier; <cite id="bib-10-5594-j14957">Rendering of Scene Data in Digital Cinema Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 118, Issue: 3, April 2009); SMPTE, 2009
<span class="doi">10.5594/J14957</span>
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